https://uvadoc.uva.es/handle/10324/48515 Sat, 11 Apr 2026 12:11:36 GMT 2026-04-11T12:11:36Z https://uvadoc.uva.es/handle/10324/48524 This contribution explores lucid dreaming as an eccentric method for telling a different story of the pathologization of narcolepsy. Narcolepsy has been frequently misdiagnosed as a psychiatric disorder. The most conspicuous point of confusion is hallucinations and vivid dreams. This article is particularly interested in the ways in which the unusual combination of hallucinatory and lucid dream activity and wake-like reflective awareness allows to regain control of one’s reality and ownership. By introducing one of the authors’ personal experiences with narcolepsy and hallucinations and following Lisa Blackman’s (2012, 2014) and Grace Cho’s (2008) work on non-ordinary conscious states, this article examines lucid dreaming as a method that offers a particular art of living  in dream-worlds that are sometimes impossible or terrifying to inhabit. Lucid dreaming opens up a window to explore non-human forms of care (Barad, 2012; Bellacasa, 2017; Dokumaci, 2017) that take place in unearthly worlds, which offer survival for those who inhabit a dream-world that terrifies them and a real-world that pathologizes. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48524 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48523 The objective of this article is twofold: to deepen into the psychoanalytical concepts of trauma and transcryptum (a term coined by Bracha Ettinger), in order to trace a methodology for the analysis of literary transcrypta. The article is structured in two parts. In the first one, there is a revision of Freudian and Lacanian texts, offering a definition of trauma and related concepts such as latency, return of the repressed, repetition compulsion and encounter.  In the second part there is an analysis of how Freudian and Lacanian premises are reframed in Ettinger’s theory, proposing that, to a certain extent, the term trauma is equal to what she calls “memory of oblivion”, and that such memory is crucial for our understanding of the transcryptum. The conclusion describes how we can use the theory of transcryptum for the analysis of literary texts.   Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48523 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48522 Tracing Transgender Ghosts” is a reflection on the author’s dissertation; specifically, it deals with how the ghost functions as a method of articulating moments where transgender subjectivity breaks down. Transgender subjectivity is often defined through normative institutional processes and structures. However, trans experience often exceeds this bounding. By investigating the moments when the trans subject is haunted by temporal disruptions to linear subjectivation, the transgender subject becomes a site of potential counter discursivity. In this paper, the Derridean ghost is the extended metaphor used to anticipate and explore these subjective ruptures and leakages Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48522 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48521 Pursuing the line of bold indie/pop music, Perfume Genius is shining on Too Bright and shapeshifting on No Shape. Borrowing from Duggan's, Muñoz's and Halberstam’s explorations on embracing queer negativity and hopelessness, this article maps out works of Perfume Genius, or Mike Hadreas, in the form of a journey towards crafting the queen(r) art of failure.  Disturbing the heteronormative desire for coherence reflected in the media’s sanitized queer image and the productive disciplined subject in general, such art is integral to queer praxis. It is addressed both as a way of life and in its potential to be the fine line between trying to inscribe every abject into the category of intelligible and simply refusing to be, through engaging in queer negativity. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48521 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48519 This article proposes that the way we put concepts together can unpack them as methodologies and points of departure for new figurations. Only by breaking with monistic/centric figurations of concepts can we progress towards epistemic decolonization and embrace a constellation of methodologies we may refer to as eccentric. They are eccentric since they function by diffractive patterns which move them away from the center. They become cartographies of action rather than static border maps.  Inspired by the above, the present contribution looks into Frances Negrón-Muntaner's Valor y Cambio installation/experience as a case study on counterhegemonic narratives and diverting/eccentric methodologies for social and academic change. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48519 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48520 En este artículo analizaré la Revolución de la Brillantina, nombre con el que se le conoce a dos manifestaciones que tuvieron lugar en la ciudad de México en agosto de 2019, en las que se denunció el alarmante incremento a nivel nacional de casos de violencia de género. Me  centraré en las pintas de grafiti que se realizaron sobre el Ángel de la Independencia a manera de denuncia y en la reacción mediática en torno a esta forma de protesta. Planteo que estas intervenciones fueron una tentativa por parte de las colectivas feministas de (re)apropiarse de la narrativa histórica que se materializa en el monumento del Ángel y  que las reacciones en medios y redes sociales evidencian las desigualdades sexo-genéricas (étnicas y de clase también) que predominan en la memoria colectiva mexicana. Para este análisis recurriré a fuentes documentales, principalmente prensa y foros en redes sociales en los que discutió sobre las intervenciones. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48520 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48518 Este artículo explora cómo las prácticas audiovisuales se repiensan como método desde una perspectiva que se nutre de los Feminismos Nuevo Materialistas, el Giro Afectivo y los Métodos Visuales y Artísticos. Para examinar cómo funciona el método, se parte de una sesión enmarcada dentro del trabajo de campo del proyecto MiCreate. Esta sesión se lleva a cabo con un grupo de sexto de primaria en una escuela de Barcelona. A partir del caso de estudio, se deriva que filmar resulta una experiencia afectiva de conocimiento. Es un método situado en la experiencia que afecta al campo de estudio y, al mismo tiempo, se construye en su relación con él. Además, permite centrarse en los cuerpos, movimientos y afectos de la experiencia desde la parcialidad del visor. El método modifica los poderes de actuación de las investigadoras y participantes, habilitando respuestas y capacidades críticas afectivas y afirmativas para generar conocimiento en relación al método en sí mismo, la investigación y la experiencia contextualizada. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48518 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48517 Reading through one another insights raised by Teresa de Lauretis (1987; 1990), Donna Haraway (1988; 1992), Annette Kuhn (1994) and Karen Barad (2007), this article approaches feminist documentary cinema as diffraction apparatus and eccentric technology of gender. The article is divided into four sections. The first section follows Kuhn’s and de Lauretis’s definitions of cinema as technology of gender and of the subject of feminism as eccentric. We bring these ideas together with Barad’s and Haraway’s proposal of diffraction as an optical metaphor for the production of knowledges. In the second section we elaborate on what the application of a diffractive methodology to the analysis of documentary cinema would entail. We do so by putting forward three methodological tools: emotionality (Ahmed 2014), materiality (Olivieri, 2012), and performativity (Bruzzi, 2000; Butler, 1990, 1993, 2015; Barad, 2007). In the third section we apply this to the discussion of Spanish documentary No Existimos (Solano, 2014). We conclude by summarising how the diffractive and eccentric paradigms can contribute to a better understanding of the possibilities of feminist documentary cinema for co-creating and re-making the world. Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48517 2021-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/48516 This Sociology and Technoscience monograph extends conversations and uses of eccentricity as a methodological tool for doing research within the field of feminist and gender studies. The search for eccentricity responds to the editors’ interest in reflecting on and engaging with different methodological approaches which help deviate from canonical established patterns of research onto unusual and provocative ways of doing research differently. In this collection we have gathered contributions dealing with the analysis of technologies of gender, sexuality and bodies to propose new ways to defocus, dislocate or blur the split between subjects and objects of study. In sum, with this monograph we intend to contribute to gender approaches to science by exploring "eccentrically" the ways feminist and gender scholars think and research otherwise. Feminist modes of knowledge and doing research have traditionally been excluded from academic discourses or denied the merits of their own specificity due to the constitution of the notion of “women” as a sexual differentiated subject. “Women”, as epistemological subject, has been trapped between the unrepresented or unrepresentable due to the articulation of what Michel Foucault calls “technologies of sex” - that is, mechanisms, apparatuses and discourses (legal, pedagogical, medical, demographic, religious or economic) that regulate sexuality.  Following the Foucaultian concept, Teresa De Lauretis (1987) coins the concept of “technologies of gender” to move away from the idea of gender as sexual difference towards its comprehension as a political tool instead. Technologies are hence understood as inseparable from their sociocultural milieus and the semiotic apparatuses which produce women and men, assigning an identity and a position to each individual within the social group.   Fri, 01 Jan 2021 00:00:00 GMT https://uvadoc.uva.es/handle/10324/48516 2021-01-01T00:00:00Z